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Choros N. 10 by Heitor Villa-Lobos: Analyzing the Themes and Compositional Techniques of Brazilian Modernism

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Choros N. 10 by Heitor Villa-Lobos: Analyzing the Themes and Compositional Techniques of Brazilian Modernism The University of Southern Mississippi The Aquila Digital Community Master's Theses Summer 8-2016 Choros N. 10 by Heitor Villa-Lobos: Analyzing the Themes and Compositional Techniques of Brazilian Modernism Andre Oliveira Campos-Neto University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/masters_theses Part of the Ethnomusicology Commons, Latin American History Commons, and the Music Performance Commons Recommended Citation Campos-Neto, Andre Oliveira, "Choros N. 10 by Heitor Villa-Lobos: Analyzing the Themes and Compositional Techniques of Brazilian Modernism" (2016). Master's Theses. 185. https://aquila.usm.edu/masters_theses/185 This Masters Thesis is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Master's Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. CHOROS N.10 BY HEITOR VILLA-LOBOS: ANALYZING THE THEMES AND COMPOSITIONAL TECHNIQUES OF BRAZILIAN MODERNISM by Andre Oliveira Campos Neto A Thesis Submitted to the Graduate School and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved: _________________________________________ Dr. Douglas Rust, Committee Chair Associate Professor, Music _________________________________________ Dr. Danny Beard, Committee Member Associate Professor, Music _________________________________________ Dr. Joseph Brumbeloe, Committee Member Associate Professor, Music _________________________________________ Dr. Edward Hafer, Committee Member Associate Professor, Music _________________________________________ Dr. Karen S. Coats Dean of the Graduate School August 2016 COPYRIGHT BY Andre Oliveira Campos Neto 2016 Published by the Graduate School ABSTRACT CHOROS N.10 BY HEITOR VILLA-LOBOS: ANALYZING THE THEMES AND COMPOSITIONAL TECHNIQUES OF BRAZILIAN MODERNISM by Andre Oliveira Campos Neto August 2016 Heitor Villa-Lobos (b. March 5, 1887 - d. November 17, 1959) can be considered the most important composer in Brazilian music history. Although the composer is listed as one of the most influential composers in the history of the guitar, he reached his peak in his works for piano and symphonic groups. Works such as A Prole do Bebê (1 and 2), and the series of Chôros, came out during an extremely convoluted time, where Brazilian artists engaged in seeking an artistic representation of a unique Brazilian identity. Those works not only satisfied the hunger, but pushed the movement to a new level, which, some would argue, has never been surpassed by any other composer. Unlike his work for the guitar, on which hundreds of analyses and articles can easily be found, Chôros No 10 has had little to no attention from a theoretical viewpoint. Being considered perhaps Villa-Lobos’ masterpiece, this piece brought what is most Brazilian into classical music, with a calculated European influence among genuine Brazilian characteristics made into music. To date, there have been many writings about Chôros No 10 from a historical perspective. The theoretical writings about this piece are few, and in my research I was not able to find any such writings that were exhaustive or very in depth. This thesis analyzes the elements in Chôros ii No 10, such as themes and harmonic implications, linked to the historical background of the Brazilian Modernism in music. iii ACKNOWLEDGMENTS I would like to acknowledge and thank the Music Theory Department at The University of Southern Mississippi, especially Dr. Douglas Rust for his thoughtful advice and mentorship throughout the process of writing this thesis. His thorough and prompt responses made the writing of this thesis interesting and possible. I would like to extend a special thank you to Dr. Nicholas Ciraldo for the well balanced proportion of freedom and guidance he has offered me on my path throughout this degree, which was imperative to my personal successes and improvements on my road to becoming a stronger musician. I am also grateful to Dr. Edward Hafer for making the often tedious and time-consuming bibliographical part of writing a thesis interesting and fruitful, to Dr. Danny Beard for trusting and guiding me in the task of teaching his students, which has brought some of the most gratifying moments of my career thus far, and to Dr. Joseph Brumbeloe for the opportunity of having studied Theory and Analysis with such a great mind as his. iv DEDICATION I dedicate this thesis to the four most important people in my life: My mother Vania Machado, who has always showed unconditional support regarding my personal and professional choices. My two brothers, Diogo Oliveira and Leandro Oliveira, as they followed me, cheered for me, and at times became part of my artistic endeavors. And my beautiful and talented wife Karis Tucker, who makes me a better writer, with whom I have been able to appreciate life on a new and adventurous level. v TABLE OF CONTENTS ABSTRACT ...........................................................................................................ii ACKNOWLEDGMENTS .......................................................................................iv DEDICATION ....................................................................................................... v LIST OF TABLES ................................................................................................ vii LIST OF MUSICAL EXAMPLES ......................................................................... viii CHAPTER I – HISTORIC BACKGROUND ........................................................... 1 CHAPTER II – THE SERIES OF CHÔROS ......................................................... 7 CHAPTER III – CHÔROS NO 10 ......................................................................... 8 CHAPTER IV – FORM ....................................................................................... 10 CHAPTER V - THEMES IN THE “A” SECTION .................................................. 13 CHAPTER VI - THE “B” SECTION ..................................................................... 25 CHAPTER VII – CHOIR ..................................................................................... 36 CHAPTER VIII – CONCLUSION ........................................................................ 42 BIBLIOGRAPHY ................................................................................................. 43 vi LIST OF TABLES Table 1 Heitor Villa-Lobos, Chôros No. 10, Formal Design ................................ 11 vii LIST OF MUSICAL EXAMPLES Musical Example 1. Harmonic reduction of the first chord - Chôros No 10 ......... 10 Musical Example 2. Main theme of Chôros No 10 in its pure form (a) and in its chromatically altered form (b) ............................................................................. 14 Musical Example 3. Division of the main theme of Chôros No 10 into two separate cells .................................................................................................................... 15 Musical Example 4. Measures 123-125 of Chôros No 10 ................................... 16 Musical Example 5. The melody in the third horn, measure 15 .......................... 17 Musical Example 6. Main theme - octaves played by strings, measure 40 ......... 18 Musical Example 7. Measures 106-109 of Chôros No 10 ................................... 19 Musical Example 8. Second theme of Chôros No 10, taken from the song of the bird Azulão da Mata ............................................................................................ 22 Musical Example 9. Measures 13-16 of Chôros No 10 ....................................... 24 Musical Example 10. Measures 160-163 of Chôros No 10, bassoon ................. 25 Musical Example 11. Measures 163-165 of Chôros No 10 ................................. 27 Musical Example 12. Measures 172-174 of Chôros No 10 - percussion ............ 28 Musical Example 13. Measures 172-174 of Chôros No 10 - full page ................ 29 Musical Example 14. Accompaniment pattern of section B – excerpt ................ 31 Musical Example 15. Measures 224 and 225 of Chôros No 10 – strings ........... 32 Musical Example 16. Measure 220 of Chôros No 10 - violin I ............................ 33 viii Musical Example 17. Measure 220 of Chôros No 10 – percussion .................... 34 Musical Example 18. Last four measures of Chôros No 10 ................................ 35 Musical Example 19. Measures 175 - 179 of Chôros No 10 - choir .................... 36 Musical Example 20. Measures 186 and 187 of Chôros No 10 - choir ............... 37 Musical Example 21. Measures 188 and 189 of Chôros No 10 - choir ............... 37 Musical Example 22. Melody taken from Medeiros’ polka sung by the sopranos, measures 216-232 .............................................................................................. 39 Musical Example 23. Measures 230 and 231 of Chôros No 10 - choir and strings ........................................................................................................................... 40 Musical Example 24. Manuscript of the melody of Medeiros’ piece, Yara .......... 41 ix CHAPTER I – HISTORIC BACKGROUND Brazilian Modernism was a cultural movement that largely influenced the entire artistic scene in the early 20th century in Brazil, the Semana da Arte Moderna (Week of Modern Art - São Paulo, 1922) being considered its official beginning.
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